Revisiting his 2013 essay collection has strengthened Kiese Makeba Laymon’s voice and allowed him to truly build a home in the space he keeps.
Early on in Washington’s new novel, Benson asks his partner’s mother for a story about her son. She says that stories are heirlooms, explaining that they are “a personal thing…You don’t ask for heirlooms. They’re just given to you.” She tells Benson this while she is cooking. But by
Jaquira Díaz’s 2019 memoir resonated deeply with me in a way that a bronzed Al Pacino never could, and that a book never had.
Harris-DeBerry writes about freedom like someone who has felt the word in her mouth for years, felt the shape and sound of it, and has used the instruments of her voice and her page to translate it into something we can all understand.
Kristen Millares Young’s novel explores the idea of people’s histories and stories, whether personal or communal, as places that can anchor or be explored and learned from.
A home doesn’t feel like a home when there are structures built to immortalize those who dehumanized entire populaces. But it feels a little more like home when we’re marching, when we fill spaces with our bodies, our friends, our loves, our strangers, shouting out the names of the
The gravitational pull of the physical is a placeholder for the mental, emotional, and spiritual work that Sarah M. Broom’s 2019 book, and the stories within, is doing.
Michael Zapata’s new novel is a story about stories, literature about literature, a universe about universes. Memories, ghosts, and shadows all guide the protagonists as they try to keep their stories and homes and loves with them.
There’s a line in Niyi Osundare’s 2011 book that goes, “Enia lasoo mi,” which translates from Yoruba to English as, “People are my clothes.” Waking up to a seemingly emptied New Orleans, Christopher Romaguera had that line on his mind.
In Yuri Herrera’s 2009 novel, borders can be impenetrable surfaces, and language can open doors that can’t so easily be locked back.